Jacques Callot (French: [ʒak kalo]; c. 1592 – 1635) was a baroqueprintmaker and draftsman from the Duchy of Lorraine[1] (an independent state on the north-eastern border of France, southwestern border of Germany and overlapping the southern Netherlands). He is an important person in the development of the old master print. He made more than 1,400 etchings that chronicled the life of his period, featuring soldiers, clowns, drunkards, Gypsies, beggars, as well as court life. He also etched many religious and military images, and many prints featured extensive landscapes in their background.
Callot was born and died in Nancy, the capital of Lorraine, now in France. He came from an important family (his father was master of ceremonies at the court of the Duke), and he often describes himself as having noble status in the inscriptions to his prints. At the age of fifteen he was apprenticed to a goldsmith, but soon afterward travelled to Rome where he learned engraving from an expatriate Frenchman, Philippe Thomassin. He probably then studied etching with Antonio Tempesta in Florence, where he lived from 1612 to 1621. More than 2,000 preparatory drawings and studies for prints survive, but no paintings by him are known, and he probably never trained as a painter.
During his period in Florence he became an independent master, and worked often for the Medici court. After the death of Cosimo II de' Medici during 1621, he returned to Nancy where he lived for the rest of his life, visiting Paris and the Netherlands later during the decade. He was commissioned by the courts of Lorraine, France and Spain, and by publishers, mostly in Paris. Although he remained in Nancy, his prints were distributed widely through Europe; Rembrandt was a keen collector of them.
Technical innovations: échoppe, new hard ground, stopping-out
Massacre of the Innocents, showing the use of multiple stoppings-out to create the fainter lines of the distant view. 13.7 x 10.5 cm
His technique was exceptional, and was helped by important technical advances he made. He developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do.
He also seems to have been responsible for an improved recipe for the etching ground that coated the plate and was removed to form the image, using lute-makers varnish rather than a wax-based formula. This enabled lines to be etched more deeply, prolonging the life of the plate in printing, and also greatly reducing the risk of "foul-biting", such that acid gets through the ground to the plate where it is not intended to, producing spots or blotches on the image. Previously the risk of foul-biting had always been present, preventing an engraver from investing too much time on a single plate that risked being ruined by foul-biting. Now etchers could do the very detailed work that was previously the monopoly of engravers, and Callot made good use of the new possibilities.
He also made more extensive and sophisticated use of multiple "stoppings-out" than previous etchers had done. This is the technique of letting the acid dissolve lightly over the whole plate, then stopping-out those parts of the work which the artist wishes to keep shallow by covering them with ground before bathing the plate in acid again. He achieved unprecedented subtlety in effects of distance and light and shade by careful control of this process. Most of his prints were relatively small – as much as about six inches or 15 cm on their longest dimension.
One of his devotees, the Parisian Abraham Bosse spread Callot's innovations all over Europe with the first published manual of etching, which was translated into Italian, Dutch, German and English.
His most famous prints are his two series of prints each on "the Miseries and Misfortunes of War". These are known as Les Grandes Misères de la guerre, consisting of 18 prints published during 1633, and the earlier and incomplete Les Petites Misères – referring to their sizes, large and small (though even the large set are only about 8 x 13 cm). These images show soldiers pillaging and burning their way through towns, country and convents, before being variously arrested and executed by their superiors, lynched by peasants, or surviving to live as crippled beggars. At the end the generals are rewarded by their monarch. During 1633, the year the larger set was published, Lorraine had been invaded by the French during the Thirty Years' War and Callot's artwork is still noted with Francisco Goya's Los Desastres de la Guerra (The Disasters of War), which was influenced by Callot – (Goya owned a series of the prints),[2] as among the most powerful artistic statements of the inhumanity of war.
Grotesque Dwarves
Callot's series of "Grotesque Dwarves" were to inspire Derby porcelain and other companies to create pottery figures known as "Mansion House Dwarves" or "Grotesque Dwarves". The former title comes from a father and son who were paid to wander around the Mansion House in London wearing oversized hats that contained advertisements.[3]
The Temptation of St Anthony (1635, Fitzwillaim Museum).Temptation of Saint Anthony
Notes
^Chisholm, Hugh, ed. (1911). "Callot, Jacques" . Encyclopædia Britannica (11th ed.). Cambridge University Press.
^Chase Maenius. The Art of War[s]: Paintings of Heroes, Horrors and History. 2014. ISBN978-1320309554
^Mansion House Dwarves 27 August 2011 at the Wayback Machine, Digital Hybridity, Derby University, accessed August 2011
^ Ferrari-Barassi, Elena (2020). "Black Slaves' Music and Dance in the Sixteenth and Sventeenth Centuries: Spanish, Italian and French Reflections". Music in Art: International Journal for Music Iconography. 45 (1–2): 87–114. ISSN 1522-7464.
References
A Hyatt Mayor, Prints and People, Metropolitan Museum of Art/Princeton, 1971, nos 455–460.ISBN0-691-00326-2.
DP Becker in KL Spangeberg (ed), Six Centuries of Master Prints, Cincinnati Art Museum, 1993, no 74 (Large Miseries of War), ISBN0-931537-15-0.
External links
Wikimedia Commons has media related to Jacques Callot.
Bodkin Prints – Links to over 1,000 Callot prints (see section B)
Jacques Callot on the Internet from Artcyclopedia.
Brief bio of Callot from Web Gallery of Art
Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Jacques Callot (see index)
jacques, callot, french, ʒak, kalo, 1592, 1635, baroque, printmaker, draftsman, from, duchy, lorraine, independent, state, north, eastern, border, france, southwestern, border, germany, overlapping, southern, netherlands, important, person, development, master. Jacques Callot French ʒak kalo c 1592 1635 was a baroque printmaker and draftsman from the Duchy of Lorraine 1 an independent state on the north eastern border of France southwestern border of Germany and overlapping the southern Netherlands He is an important person in the development of the old master print He made more than 1 400 etchings that chronicled the life of his period featuring soldiers clowns drunkards Gypsies beggars as well as court life He also etched many religious and military images and many prints featured extensive landscapes in their background Jacques Callot Lucas Vorsterman the Elder after Anthony van Dyck Contents 1 Life and training 2 Technical innovations echoppe new hard ground stopping out 3 Miseries of War 4 Grotesque Dwarves 5 Other notable works 6 Notes 7 References 8 External linksLife and training Edit The Large Hunt a famous technical showpiece Callot was born and died in Nancy the capital of Lorraine now in France He came from an important family his father was master of ceremonies at the court of the Duke and he often describes himself as having noble status in the inscriptions to his prints At the age of fifteen he was apprenticed to a goldsmith but soon afterward travelled to Rome where he learned engraving from an expatriate Frenchman Philippe Thomassin He probably then studied etching with Antonio Tempesta in Florence where he lived from 1612 to 1621 More than 2 000 preparatory drawings and studies for prints survive but no paintings by him are known and he probably never trained as a painter During his period in Florence he became an independent master and worked often for the Medici court After the death of Cosimo II de Medici during 1621 he returned to Nancy where he lived for the rest of his life visiting Paris and the Netherlands later during the decade He was commissioned by the courts of Lorraine France and Spain and by publishers mostly in Paris Although he remained in Nancy his prints were distributed widely through Europe Rembrandt was a keen collector of them Technical innovations echoppe new hard ground stopping out Edit Massacre of the Innocents showing the use of multiple stoppings out to create the fainter lines of the distant view 13 7 x 10 5 cm His technique was exceptional and was helped by important technical advances he made He developed the echoppe a type of etching needle with a slanting oval section at the end which enabled etchers to create a swelling line as engravers were able to do He also seems to have been responsible for an improved recipe for the etching ground that coated the plate and was removed to form the image using lute makers varnish rather than a wax based formula This enabled lines to be etched more deeply prolonging the life of the plate in printing and also greatly reducing the risk of foul biting such that acid gets through the ground to the plate where it is not intended to producing spots or blotches on the image Previously the risk of foul biting had always been present preventing an engraver from investing too much time on a single plate that risked being ruined by foul biting Now etchers could do the very detailed work that was previously the monopoly of engravers and Callot made good use of the new possibilities He also made more extensive and sophisticated use of multiple stoppings out than previous etchers had done This is the technique of letting the acid dissolve lightly over the whole plate then stopping out those parts of the work which the artist wishes to keep shallow by covering them with ground before bathing the plate in acid again He achieved unprecedented subtlety in effects of distance and light and shade by careful control of this process Most of his prints were relatively small as much as about six inches or 15 cm on their longest dimension One of his devotees the Parisian Abraham Bosse spread Callot s innovations all over Europe with the first published manual of etching which was translated into Italian Dutch German and English Miseries of War Edit One of Les Grandes Miseres de la guerre His most famous prints are his two series of prints each on the Miseries and Misfortunes of War These are known as Les Grandes Miseres de la guerre consisting of 18 prints published during 1633 and the earlier and incomplete Les Petites Miseres referring to their sizes large and small though even the large set are only about 8 x 13 cm These images show soldiers pillaging and burning their way through towns country and convents before being variously arrested and executed by their superiors lynched by peasants or surviving to live as crippled beggars At the end the generals are rewarded by their monarch During 1633 the year the larger set was published Lorraine had been invaded by the French during the Thirty Years War and Callot s artwork is still noted with Francisco Goya s Los Desastres de la Guerra The Disasters of War which was influenced by Callot Goya owned a series of the prints 2 as among the most powerful artistic statements of the inhumanity of war Grotesque Dwarves EditCallot s series of Grotesque Dwarves were to inspire Derby porcelain and other companies to create pottery figures known as Mansion House Dwarves or Grotesque Dwarves The former title comes from a father and son who were paid to wander around the Mansion House in London wearing oversized hats that contained advertisements 3 Varie Figure Gobbi Series of 21 etchings 1616 Varie Figure Gobbi Stadelsches Kunstinstitut Masked Dwarf with Contorted Legs Crippled Dwarf with Hood The Fat Dwarf The Hunchbacked Dwarf The Potbellied Dwarf with the Tall Hat Dwarf with Violin Example of Jacques Callot s work Other notable works Edit The Fair at Impruneta 1620 A large series depicting commedia dell arte figures called Balli di Sfessania in a simple caricature like style from his years in Florence 4 Series on the Lives of Christ and Mary Series on the story of the Prodigal Son The Giant Tifeo beneath Mount Ischia 1617 The Fair at Impruneta 1620 The Fair at Gondreville 1624 The Temptation of St Anthony 1635 Fitzwillaim Museum Temptation of Saint AnthonyNotes Edit Chisholm Hugh ed 1911 Callot Jacques Encyclopaedia Britannica 11th ed Cambridge University Press Chase Maenius The Art of War s Paintings of Heroes Horrors and History 2014 ISBN 978 1320309554 Mansion House Dwarves Archived 27 August 2011 at the Wayback Machine Digital Hybridity Derby University accessed August 2011 Ferrari Barassi Elena 2020 Black Slaves Music and Dance in the Sixteenth and Sventeenth Centuries Spanish Italian and French Reflections Music in Art International Journal for Music Iconography 45 1 2 87 114 ISSN 1522 7464 References EditA Hyatt Mayor Prints and People Metropolitan Museum of Art Princeton 1971 nos 455 460 ISBN 0 691 00326 2 DP Becker in KL Spangeberg ed Six Centuries of Master Prints Cincinnati Art Museum 1993 no 74 Large Miseries of War ISBN 0 931537 15 0 External links Edit Wikimedia Commons has media related to Jacques Callot Bodkin Prints Links to over 1 000 Callot prints see section B Jacques Callot on the Internet from Artcyclopedia Brief bio of Callot from Web Gallery of Art Prints amp People A Social History of Printed Pictures an exhibition catalog from The Metropolitan Museum of Art fully available online as PDF which contains material on Jacques Callot see index Jacques Callot etchings ca 1615 1635 Getty Research Institute Los Angeles Accession No 890027 Retrieved from https en wikipedia org w index php title Jacques Callot amp oldid 1103482866, wikipedia, wiki, book, books, library,
